premiere – ocean hope

– featured image courtesy of the artist –

angeliki and serafim tsotsonis craft intimate snippets of expansive, dreamy pop in their respective home studios in greece; the sister-brother duo carefully piece these fragments together and offer up the final results under the moniker ocean hope.  a 2015 extended play, chamber dreams, suggested contentment with the secluded, a quiet exploration of their aesthetic’s intricacies, but upon further review this approach seems to be a mere foundation, the duo’s ceiling still far out of sight.

later this month, ocean hope will release rolling daystheir first full-length effort.  its ten tracks burst wide open with a technicolor aural palette, thick analog synthesizers and prominent lead vocals filtered through its kaleidoscopic lens.  earlier singles “devotion” and “my baby” are a testament to this newfound boldness, a tendency that certainly extends to the album’s third offering, “holy bound.”

“holy bound,” with its familial lyrical tinge, is a capsule of the nostalgic escape ocean hope provide throughout rolling days, seasick guitars stumbling into a cascading synth melody while angeliki’s vocals resonate throughout.  paired with a robust bass line and a contemplative saxophone outro, “holy bound” is saturated but not overflowing, a bounty of textures that continue to reveal new facets of themselves upon repeated listens.

rolling days is due out may 25th via the ever-reliable folks at hush hush records.  listen to “holy bound,” premiering here on the dimestore, below.

plastic flowers – “half life”

– featured image courtesy of the artist –

george samaras sits at the helm of plastic flowers, a project that has swayed between a solo production outlet and a full-band experience throughout its transcontinental voyage from greece to london.  armed with a hazy catalogue of material that has existed in some form since 2013, samaras will return with his third full-length, absent forever, on november 10th via the native sound.

a recurring theme threaded through absent forever is samaras’ preference towards recording directly to tape; the ensuing analogue warmth certainly permeates throughout “half life,” the album’s latest preview.  a woozy, angular buzz-saw of a guitar riff chugs resolutely in front of a syncopated drum beat, the resulting mid-tempo foundation providing perfect fodder for samaras’ cavernous lead vocal.  “half life” feels appropriately haunting, tinted with the warble of an aged reel-to-reel.  listen in below.

may roosevelt – “air”

– featured image courtesy of mike rafail –

before the dimestore takes a two-week hiatus, we wanted to leave you with this utterly gorgeous offering from greek producer may roosevelt.  “air” is culled from roosevelt’s forthcoming full-length junea, out october 23rd via inner ear records, and it’s an appropriately atmospheric track packed with swaths of ethereal vocals draped over brassy synth swells and a persistent four-on-the-floor pulse.  taken together, the components of “air” are decidedly chilly yet somehow enveloping, comforting; an analogue to the crisp autumn days that will define the hemisphere in the days to come.  find solace below.

listen to a new song from keep shelly in athens

if you haven’t heard already, sarah p. stepped away from her vocal duties in keep shelly in athens over the weekend, citing a desire to pursue other projects.  it’s a bummer of a piece of news to hear, and something sarah gave no indication of in her interview with dimestore saints last year, but there is a bittersweet silver lining.  in honor of her departure, keep shelly in athens has offered up “old time glory,” a new/old track, to stream and download via soundcloud.  you can check that out below.

keep shelly in athens will soldier on.  the band announced that they will continue with a new lead singer and guest collaborations, and that a new album can be expected later this year.  but for now, let’s take a moment and remember what a critical factor sarah p. was in establishing the band’s early success.

interview – keep shelly in athens

i’ve been watching grecian duo keep shelly in athens like a hawk for quite some time now, eagerly waiting their debut full-length at home and eating it up upon its release.  things got even more exciting when frontwoman sarah p. agreed to take time out of her busy schedule to answer some questions via email.  she shed some light on the incredibly simple ethos of the band, as well as some insight into the bevy of emotions found across at home and her impression of the recent turmoil in greece.  check out the transcript below.

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keep shelly in athens got a lot of early exposure online, especially on sites over here like gorilla vs. bear.  now that you’ve been working with a record label not attached the the blogosphere, do you notice any changes in how you approach making music and its dissemination?

not at all.  we are always the same two who are making music.  of course, we feel that we have evolved our sound in comparison to the early stuff, and i think that is best for every band – to unfold and develop.  definitely the support of our label it is really important.  we have got a really nice team around us that is helping a lot, that is true, but that did not bring any changes in our songwriting.

the intimacy created on at home is quite remarkable, especially for a duo operating within a genre largely defined by solo acts.  what’s your approach to songwriting?

we make the music that we love.  that is from where it all starts in the first place.  whenever we sit down to write songs, we do not know what we will come up in the end.  the idea it is to express yourself, no matter what.  is not that keep shelly in athens are musicians who studied in colleges about music; we are empirical musicians, driven by our instincts.  that is probably why our music is kind of layered and most of the times sounds a little weird, blending together all those influences we have.

 

as i mentioned in my review of at home, the songs at the beginning of the album decidedly upbeat in comparison to some of the downtempo explorations later on.  was this shift in mood consciously sparked by anything?

the whole album has this roller coaster mood.  you get high, then you know you’ll get down.  no matter what, it happens.  it is the atmosphere we wanted to build; it is that feeling we were exploring; it is all about emotions.  when you are experiencing something intensely, you have already made sure you’ll feel its opposite.  you cannot help it.

have the recent political and social events in greece impacted your work at all?

we might be spotlighted all the time by the media, but spotlights fade out and we are the only ones left around, experiencing the harsh results of this crisis, socially and politically.  with a flimsy society, not a stable foundation, greece at the moment seems to have a quicksand under her feet.  this affects the whole lifestyle, and definitely our work.  both at the creative process and at the “how to make that happen” question.

and remember, it is not just greece.  it is not just greece who appears as the black ship.

“flyway,” for example, is about all this.  the personal strife of every single person, who has to run after it all, to compete, to reach the other ones who are quicker than he is.  he might have lost his faith, he might feel weak, but he still has to fight, or else he will be left behind.  and that is not a good deal, not a good deal at all.

speaking of greece, that’s not a country you hear a lot of music coming out of, at least on an international level.  what’s the inside scoop on the athens music scene?

greek artists seem to be quite inventive lately, they seem to want to be heard outside the country.  this crisis of ours – financial, social, political – has changed our minds and we raised our voices somehow, we were determined that we will stand up tall.  it is true that greek artists are more active than ever, and we team up.  recently, i wrote lyrics and sang for the plastic flowers, a band you should definitely check out.

 

what are you listening to as of late that constitutes more of a guilty pleasure than anything else?

i have no guilty pleasures, to be honest.  i am listening to it all; if i like something, i do not feel ashamed about liking it.  that’s a principle in my life.  it always depends on the mood you are in.

i see that you’ve got a good-sized north american tour slated for october.  what aspect of touring are you looking forward to the most?

we have been missing touring around.  it has been a while since we have last been on the road.  plus, what changed this time is that we have the support of our label, cascine.  rearrangements, new team, new songs, probably new people coming to our shows.  probably, hopefully.  it will be a new experience for everybody.  so i cannot wait for it all; i want to experience and enjoy every single moment.

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you’ll be able to check out keep shelly in athens next month when they hit north america for a string of tour dates; the full list is here.  at home is a fantastic record that you should definitely spin sometime if you haven’t yet gotten the chance, and a band this prolific is bound to churn out something really good again in the near future.  i can’t wait.

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